Plot Turn Quotes & Sayings

When I say that I went to grad school in Iowa City, people often assume that I went to the famed writers' workshop MFA program at the University of Iowa. I didn't. I got a master's in journalism. — Chelsea Cain

The writer seems constrained, not by his own free will but by some powerful and unscrupulous tyrant who has him in thrall, to provide a plot, to provide comedy, tragedy, love interest, and an air of probability embalming the whole so impeccable that if all his figures were to come to life would find themselves dressed down to the last button of their coats in the fashion of the hour. The tyrant is obeyed; the novel is done to a turn. But sometimes, more and more often as time goes by, we suspect a momentary doubt, a spasm of rebellion, as pages fill themselves in the customary way. Is life like this? Must novels be like this? — Virginia Woolf

Life is a book and you are its author. You detemine its plot and pace and you--only you--turn its pages. — Beth Mende Conny

I don't know exactly why the notion of homeownership has such a grasp on the American imagination. Perhaps as descendants of landless immigrants we turn our plots into symbols of stability. — Ellen Goodman

Through windows,
in wishing wells,
whispering in the wind...
that's where I find you. — Jessica Kristie

(In reply to the question, 'Would you like some suggestions for a plot for your next book?')
There are three problems with getting plot suggestions from other people. The first is that ideas are the easy part of writing; finding the time and energy to get them down on paper is the hard part. I have plenty of ideas already. Which brings me to the second problem: the ideas that excite you, the ones you think would make a terrific book, are not necessarily the same ideas that excite me. And if a writer isn't excited about an idea, she generally doesn't turn out a terrific book, even if the idea is terrific. And the third problem with my using your suggestions is that, theoretically, you could sue me if I did, and that tends to make publishers nervous, which makes it hard to sell a book. So thank you, but no. — Patricia C. Wrede

In the twenty-one years I lived with my mother, we moved at least twenty times. — Esmeralda Santiago

When you're reading a good noir, the shocks and twists have a way of feeling deja vu-like, as if you saw them coming, but hoped the characters would take a left turn ... not answer the phone, not sleep with that woman, not sell drugs to those cops ... but knew they would. It would have been wrong if they didn't, and the real surprise can be that you care about someone you know is in for hell. You relate to them, even when their hell is so much bigger than your own. But we're all going to die, and we all make mistakes.
The best noir stories make you forget plot entirely by giving you characters that feel so well-realised you can't look away as they fall. — Ed Brubaker

Before 'Cagney and Lacey,' we didn't follow officers home to find out what they did when they took their badges off and emptied their guns. So the idea that these women also had lives outside of work was really interesting to play. — Tyne Daly

For me, Modern Warfare 3 's plot makes its signature turn around the bend when Russia invades Europe. As in, all of it. Simultaneously.
Now, I've never invaded Europe, except for that one time, but I would think that's a project you might want to stagger out a bit if you haven't forged an alliance with any galactic empires lately. — Yahtzee Croshaw

There isn't a button," she said. "You choose your setting and then you pull the dial."
He glanced at her as she folded a shirt, annoyed by her nonchalance at doing laundry. "What exactly is my setting? It looks to me like the setting is the goddamn laundry room and the plot is I don't know how to fucking turn this thing on. — J.M. Darhower

There are two Mustafa Kemals. One the flesh-and-blood Mustafa Kemal who now stands before you and who will pass away. The other is you, all of you here who will go to the far corners of our land to spread the ideals which must be defended with your lives if necessary. I stand for the nation's dreams, and my life's work is to make them come true. — Mustafa Kemal Ataturk

I'd suggest that what works for me may work equally well for you. If you are enslaved to (or intimidated by) the tiresome tyranny of the outline and the notebook filled with "Character Notes," it may liberate you. At the very least, it will turn your mind to something more interesting than Developing the Plot. — Stephen King

There are different kinds of fear. One of the most terrible is the sensation that you are likely to become, at any moment, the protagonist in a Graham Greene novel: the man who tries to be virtuous and who is, in a certain sense, holy, and yet who is overwhelmed by sin as if there were a kind of fatality about it. — Thomas Merton

Life would be boring if we knew how things would turn out in the future. You don't plot out your life and then live it. You live your life and see how it turns out. — Lisa Scott

Sometimes in life we must slowly distant ourselves from people and places we feel unconformable. Don't feel bad feel freedom. — Ron Baratono

Some days I feel more like a scribe than a creator. I will have the major points fleshed out, but there is always a turn or two that I didn't see coming, or which came earlier than I expected it to, or not at all... — J. Neven-Pugh

No matter how beneficial a disappearing act might be for me, I could never tear myself away from a show in progress. Even when the plot's tragic ending is apparent to the entire audience. Perhaps there's a deus ex machina that will lower from the ceiling and turn the whole debacle into a romantic comedy. never can tell. Paid the full ticket price, might as well stay. — Josh Kilmer-Purcell

In writing short stories - as in writing novels - take one
thing at a time. (For some writers, this advice I'm giving may
apply best to a first draft; for others, it may hinder the flow at
first but be useful when time for revision comes.) Treat a short
passage of description as a complete unit and make that one
small unit as perfect as you can; then turn to the next unit
a passage of dialogue, say - and make that as perfect as you can.
Move to larger units, the individual scenes that together make
up the plot, and work each scene until it sparkles. — John Gardner

When I wrote Rick, I had the idea that I would take the plot of nearly every opera and turn it into a dark film, which is something I still may do. — Daniel Handler

If you have too many enemies, it means that you are either too good or too evil! — Mehmet Murat Ildan

I give in and light another cigarette even though last night the surgeon general came on the television set and shook his finger at everybody, trying to convince us that smoking will kill us. But Mother once told me tongue kissing would turn me blind and I'm starting to think it's all just a big plot between the surgeon general and Mother to make sure no one ever has any fun. — Kathryn Stockett

I love to play with language; make it do tricks, turn a word inside out to see if it's got a hidden meaning tucked away somewhere, or perhaps find that it's capable of an extra entendre or two ... Plotting is nothing I did, or do, naturally. It is the hardest part of the writing process. No matter how many times you plot a script successfully, the next one, representing new and uncharted territory, convinces you that you really don't know how to do it at all. — Larry Gelbart

It is all too easy to turn other people in our lives into a supporting cast for our life movie. The problem is that they don't follow the role or the lines we've given them. They are actual people with actual needs that get in the way of our plot, especially if they're as ambitious as we are. Sometimes, chasing your dreams can be "easier" than just being who we are, where God has placed you, with the gifts he has given to you. — Michael S. Horton

So I got stuck doing make-up work during spring vacation. ...I guess things could have gotten worse. But I wasn't there to visit."
-Tokidoki — Shinobu Takayama

Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived. — James N. Frey

My most enjoyable movie going experiences have always been going to a movie theater, sitting there and the lights go down and a film comes on the screen that you don't know everything about, and you don't know every plot turn and every character movement that's going to happen. — Christopher Nolan

The fat Russian agent was cornering all the foreign refugees in turn and explaining plausibly that this whole affair was an Anarchist plot. I watched him with some interest, for it was the first time that I had seen a person whose profession was telling lies - unless one counts journalists. — George Orwell

It is said that in life we must play with the cards we are dealt, but too often I have kept those cards too close to my chest. — Lawrence Fagg

But something about the interesting plot bothered me: one of the major rules that Wes had established on A Nightmare on Elm Street had been broken - Freddy was taken out of the dreams. In Nightmare 2, Freddy would be allowed to manifest outside of the dreamscape. It didn't hurt the quality of the script, but it messed up the continuity. On the plus side, I thought the bisexual-slash-homoerotic subtext was edgy and contemporary, and I appreciated how the plot investigated both the social-class system and the rise of suburban malaise. This may sound pretentious and over-analytical, but I believe that Freddy represented what looked to be a bad future for the post-boomer generation. It's possible that Wes believed the youth of America were about to fall into a pile of shit - virtually all the parents in the Nightmare movies were flawed, so how could these kids turn out safe and sane? - and he might have created Freddy to represent a less-than-bright future. — Robert Englund

I have this propensity to just come out and say things. That's how I am in real life. — Miguel

There is a moment in every relationship when you see the whole thing. The question is when does the moment come? Is it the first time you see the person and instinctively know that things between you are going to work out, or fail? Or is it a moment toward the end, however you get there, when you realize that there is something behind this persons eyes that you were never able to touch, no matter how hard you tried? — Laura Dave

Seven o'clock and you watched it and then you turned it off. The Fifties. It's like that in movies and television programs, but its plot there. The characters get some information from the newscaster and then they turn it off so they can speak. But we were the characters then. We still are, I guess, so it's only a matter of time before we start seeing television shows where the people turn on the news to get some information and then, instead of turning it off so they can speak, they leave it on, and we get swept into some endless video vortex, some film loop, which has us by the eyes and won't let us go. — Alberto Alvaro Rios

A novel can educate to some extent, but first a novel has to entertain. That's the contract with the reader: you give me ten hours and I'll give you a reason to turn every page. I have a commitment to accessibility. I believe in plot. I want an English professor to understand the symbolism while at the same time I want the people I grew up with - who may not often read anything but the Sears catalog - to read my books. — Barbara Kingsolver

If you let the plot be determined by what you feel is in the character's mind at that point, it may not turn out to be a very good play, but at least it will be a play where people are behaving in a kind of truthful way. — Tom Stoppard

For some of the things that plagued the seventeenth-century New Englander we have modern-day explanations. For others we do not. We have believed in any number of things - the tooth fairy, cold fusion, the benefits of smoking, the free lunch - that turn out not to exist. We all subscribe to preposterous beliefs; we just don't know yet which ones they are. We too have been known to prefer plot to truth; to deny the evidence before us in favor of the ideas behind us; to do insane things in the name of reason; to take that satisfying step from the righteous to the self-righteous; to drown our private guilts in a public well; to indulge in a little delusion. We have all believed that someone had nothing better to do than spend his day plotting against us. The seventeenth-century world appeared full of inexplicables, not unlike the automated, mind-reading, algorithmically enhanced modern one. — Stacy Schiff

Every so often, you want to map out your plot mythology but never so specifically that you can't let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn. — Eric Kripke

As in all Abercrombie's books, friends turn out to be enemies, enemies turn out to be friends; the line between good and evil is murky indeed; and nothing goes quite as we expect. With eye-popping plot twists and rollicking good action, Half a King is definitely a full adventure. — Rick Riordan

On the proper role of coincidence in fiction
- more exactly in storymaking, ... Aristotle declares in effect that since real life now and then includes unlikely coincidences both idle and consequential ... a storymaker may legitimately deploy such a possible-though-improbable happenstance to begin the tale or to give its plot-screws an early turn. Thereafter, however, the Plausible (even when strictly impossible) is ever to be preferred to the Possible-but-Unlikely; and in the resolution of a plot, most particularly, coincidence ought to be eschewed. Fate in fiction, decrees the great A, ought to flow from character and situation, not from chance; let no god on wires drop down at climax-time to rescue the storymaker from whatever dramaturgical corner his want of experience, talent, or judgment has painted him into. — John Barth

The lives of individuals of the human race form a constant plot, in which every attempt to isolate one piece of living that has a meaning separate from the rest-for example, the meeting of two people, which will become decisive for both-must bear in mind that each of the two brings with himself a texture of events, environments, other people, and that from the meeting, in turn, other stories will be derived which will break off from their common story. — Italo Calvino